La chute d'un caïd

In the 20's, the ambitious smalltime thief Jack Diamond (Ray Danton) and his sick brother Eddie Diamond (Warren Oates) arrive in New York. Jack meets the dance teacher Alice Shiffer (Karen Steele) and uses dirty tricks to date her and steal a necklace in a jewelry store. After spending a period in prison, he asks Alice to work with her in the dance school during his probation. Then he decides to work as bodyguard of the powerful gangster lord Arnold Rothstein (Robert Lowery) that dubs him Legs, with the intention of stealing his illegal business of bootleg, drugs and gambling. When Arnold is murdered, Legs Diamond sells protection to the gangs. When he travels to Europe with Alice on vacation, he sees in the news the changes in New York underworld with the National Prohibition Act and returns, finding a different city that he does not understand.

"The Rise and Fall of Legs Diamond" is a good gangster movie based on the biography of the criminal Jack "Legs" Diamond. The gangster is described as a man that did not love anybody and believed that he could never be killed, ending his life alone without friends and betrayed by a lover. This movie was released on VHS in Brazil by Continental distributor. My vote is seven.

Title (Brazil): "O Rei dos Facínoras" ("The King of the Ruffians")

Budd Boetticher's "The Rise and Fall of Legs Diamond" may be studio bound and a little artificial at times but it moves at a cracking pace and is never less than hugely entertaining as well as being somewhat neglected. That good and underrated actor Ray Danton is Jack 'Legs' Diamond and he dominates a fine cast that includes Simon Oakland, Elaine Stewart and in small parts Warren Oates and a young Dyan Cannon,(called Diane here). Diamond's career in crime has been largely overlooked by the movies and I can't gauge just how accurately this film portrays him. If it is factually correct then Mr Diamond was one mean so-and-so!

The Rise and Fall of Legs Diamond is Budd Boetticher's cold look at a cool customer. The low temperature extends to Lucien Ballard's crisply composed black-and-white cinematography and to Ray Danton's chilly assumption of the title role. With his `matinee-idol' looks and devil-may-care attitude, he prefigures another kind of `cool' that would arrive on screen a year or so later, that of James Bond.

Like Bond, Diamond thinks faster than anybody around him; his quick wits and ready charm get him out of scrapes as a jewel thief who came down the Hudson from Albany to try his luck in Manhattan. But that luck fails him and he ends up doing a short stretch; when he gets out, he resolves to steal from only those who `can't call the police' - other criminals. And he starts his way up in the Arnold Rothstein operation.

His fatal flaw is that he cares for nobody but himself, using people ruthlessly. The women in his life (Karen Steele, Elaine Stewart and the young Dyan Cannon) suffer particularly from their sub-zero lover, but even his sickly brother (Warren Oates) ends up cast out into the blizzard. Diamond's estrangement increases apace with his sense of his own invincibility; having survived, against all odds, a spray of bullets, he convinces himself that he can't be killed. He's wrong.

Though he's right for Boetticher's conception of the part, Danton had less of a career than he might have. He appeared in a few late films in the moribund noir cycle (as the psychotic killer in The Night Runner and as the Aspirin Kid in The Beat Generation) but, after this film, worked mostly in European cinema (by which such names as Fellini, Bergman or Godard should not be inferred).

Boetticher has a few noir credentials as well (Behind Locked Doors, The Killer is Loose) but seems uneasy in how, on the cusp of Camelot, to spin this jazz-age tale. He opts for detachment, structuring the movie as a choppy series of vignettes - almost tableaux - that don't flow (several of the incidents clamor for more explanation, but he leaves us to fill in the missing pieces). And finally, neither director nor actor gives a sound accounting of the changes in Diamond: How the winsome scoundrel of the opening turns into the cold-blooded shark of the finish.

Jack "Legs" Diamond was the alias of John T. Noland (1897-1931) who had one spectacular career in the underworld of the Roaring Twenties. Though we are far from seeing the real story of Legs Diamond, Ray Danton gives us a riveting portrayal of a totally amoral man who uses and discards people in his rise to the top. Diamond's career and this film about him is very much a harbinger of stuff like Goodfellas in the last decade.

Right around this time Hollywood took a nostalgic interest in the gangster era. A whole lot of films like Al Capone, Machine Gun Kelly an early Charles Bronson starrer, Dutch Schultz Portrait of a Mobster, and Murder, Inc. among others came out at this time. There was even a good series from Warner Brothers television that came out called The Roaring Twenties that starred Dorothy Provine. And of course heading the list was The Untouchables. The Rise and Fall of Legs Diamond is part of this trend.

This came from Warner Brothers and they certainly had the best gangster films back in the day. Had this been done back in the thirties, James Cagney or Edward G. Robinson would have been the star. However the best guy for the part back then would have been Tyrone Power. That is the Tyrone Power of Nightmare Alley. Ray Danton's portrayal of Diamond borrows a lot from Power's Stan Carlisle.

This part and Danton's role in the George Raft Story should have made Danton a star, but it didn't, who knows why. Danton gave up acting and settled for life behind the camera, directing lots of television shows.

Other good portrayals in this are Robert Lowery as Arnold Rothstein, Warren Oates as Diamond's brother, Karen Steele as his much used and abused wife, and Frank DeKova in one riveting scene as Lucky Luciano. DeKova is only identified as the "chairman" in the film as Mr. Luciano was very much alive when this came out.

However the best supporting part is Jesse White's as a gangland rival. White who normally plays comic tough guys very well really does a fine job as a rival who Diamond makes crawl for mercy.

Good portrayal of the tumultuous Roaring Twenties though not the real story of Legs Diamond.

As the title states, the film follows the rise and fall of the 1920's narcissistic gangster, Legs Diamond.

Warner Bros. certainly knew how to make gangster movies—Little Caesar (1930), Public Enemy (1931), High Sierra (1941)-- but this entry is a long way from these classics. It's a decent enough crime drama, but lacks the grit and menace of the classics. As a result, the story unfolds in entertaining but unmemorable fashion. Danton tries hard, snarling when he needs to, yet he may be a little too sleekly handsome to be convincing. After all, Cagney, Bogart, etc. were hardly matinée idols, and in a way that didn't clash with their expressions of toughness. Neither, however, is the movie helped by casting the faintly comical character Jesse White (Butch) as Legs' chief rival.

Too bad the movie doesn't make better use of Warren Oates who's kind of shoved aside as Legs' sickly brother. He would have made an excellent toughie as his career later showed. Also, it's worth noting the film was directed by western ace Buddy Boetticher, who certainly knew how to drive action and suspense in his Ranown cycle of westerns. Here, however, he doesn't appear particularly engaged.

For some reason the late 50's and early 60's were fascinated with real life gangster stories— Al Capone (1956), The Untouchables (1959-1963), Murder Inc. (1960), et. al. This 100- minutes is one of that cycle. But oh well, no matter what the movie's shortcomings, at least the girls provide plenty of eye candy.